Theater Fun With the Arcane Arts (New York Jewish Art)

 Saturday Night Live Theory (Lorne Michaels' Combination Forms of Simple Pantomime):

Lorne Michaels is perhaps the simplest, most prolific, and most striking author of character theory that's ever existed on television, particularly for actors that can play his parts in simple study with almost no difficulty in switching between parts, or picking up the part again, or exchanging parts with other actors.

There are only two elements.  The first, is noticing, when a woman, is flirting, with a man.  The second, is taking that image of the man, and placing it on top of a celebrity, in such a way that it makes the celebrity appear like a denigrated version of the man, out of sexual rivalry.  This combination of two stages, only in basic costume and hand gesture, will let any actor or actress, within their own personal theory applied, pick up a 'goof', an SNL set reference for a character, celebrity or otherwise, depending on how publicly you want to note the resemblance.

Monster Magnet Theory (How to Make Fun of The Dead Until They Walk):

Each Monster Magnet song, is based on the simple theory of referencing a dead celebrity, until their child becomes terrified of becoming them, and turns into the other parent, in some way, shape, or form.  It should always involve a distant pledge to their memory, as if they were larger than life, however with a fatalism about their day, to rob it of anything sacred. 

This way, their child, will become the opposite sex parent, however with the style and form of the parent framed by the particular work.  The key to this, is that the fans become psychopathically hateful of the opposite sex parent, blaming them for the child's unidentifiable gender or psychiatric disorder, instead of you, Monster Magnet.  Then, your band will become legendary.

In other words, you'll turn anyone you want, into Animal Mother, from Fullmetal Jacket.

Silencing the Lambs (Hannibal Lecter and the Mask of Thomas Harris):

To insert an improper profile (a person of interest, a pointed set of parameters only referring to an individual's external and temporal characteristics - behavioral motions, referring to a profile painting) into the public consciousness in a particular role, there are three tricks to use.  The heroic role, placing a malignant personality distorted against the individual that would counter their malignant behavior (i.e., Clarice Starling, a repressed homicidal placed against a psychiatrist or superior), the villainous role, placing a personally offensive personality into the position as an unseen nemesis with the real persona's view of the victim as the primary character depiction (i.e., Jame Gumb, a homosexual stalker placed into the role of a transgender), or a write-in, for the reader to learn how to counter both by making the character the true nemesis, however made familiar to the reader by virtue of constant placement, and placed against the villain by necessity to the hero (i.e., Dr. Hannibal Lecter, the author Thomas Harris as essential to defeating each type of past foe, with the secret to be used by the pawned individual, the incompetent Harriet the Spy).

Sherlock Holmes and the Good Doctor (Moriarty is a Cocaine-Induced Delusion):

Sir Arthur Conan Doyle was a skilled writer, and could have made any fantastic set of works, however he chose to be a police reform candidate, opposing the idea of the plainclothes detective.  After the excesses of Vidocq's plainclothes officers (Les Suretes) in France, publicly denounced by the French press during Napoleon III's rule of France, great scrutiny came to bear on the various undercover bureaus throughout the Europe, relating to the criminal behavior of officers.  Doyle noticed the drug informants didn't trust doctors, since they emblemized rackateer culture (whom also didn't like doctors), since doctors of all types express bedside manner by mirroring the hand signals and body sides of their patients (performed by learning Hebrew).  This mimicry based on sides is potentially capable of seducing anyone that already finds an individual attractive, causing a criminal personality (a criminal personality being one who would fantasize about possessing the observed ability) to believe that the individual could easily bed whomever the criminal fantasizes about objectifying.

This equates to the rackateering ritual of hunting sex offenders as easy sport to attain women for sex or cover wives (rackateers are gay), as well as practicing their craft at street enforcement.  He labeled Watson, written as a cohort of Sherlock Holmes (the power fantasy character, based on Vidocq), 'Doctor' Watson, using the association that corrupt police and rackateers had with doctors as targets for sport hunts.  Sherlock Holmes then expresses his recreational culture as a method to persecute his friend, as a police agent, Watson's academia written into the novel so Holmes will not only select an academic, but also misjudge Watson's skill as being skilled at the hard sciences, which is also Holmes' skill (a known deficit to both police and rackateers, particularly when relying on Watson's similarly deficient skill, Watson being most often someone that becomes an author).  

This plays into the fantasy of 'Professor' Moriarty, the Sherlock Holmes reader (the power fantasy of intelligence and sexual confidence) thinking he can outwit Doctor Watson, Moriarty, without the benefit of school work.  Instead, the corrupt plainclothes officer will use his recreational time, applied to actual police work, when chasing down the unfortunate future writer.

Shakespeare's Sonnets (Hot Tub Time Machine):

William Shakespeare wished to be a gentleman legionary as a child, and was forced into the life of a lowly scrivener instead.  To discourage the common practice of the time, the woman art thief, he designed the sonnet, a way of destroying a whore at an overseas port that sought to steal your seed.  This trick, is also the basis of the time travel plot, of any given science fiction (or otherwise) piece of media.  Each Sonnet, is from the perspective of the individual being read to, towards the individual reading.  If a woman intends on stealing from the man, with a feminine strategy (i.e., a natural biological imperative, impossible to avoid at the level of poetry, the simplest and most concise form of expression), she will feel raped by love, and become a lesbian.  Using Shakespeare himself's Sonnets, or labeling the work Shakespeare's Sonnets, will make the woman believe that Shakespeare has stolen from her, from beyond time, creating a lesbian time travel delusion and the constant suggestion that Shakespeare was a thief, without particularly identifying whom; this woman is a homophobic politician by profile, giving lesbians phobic dream representations of personal nudity, however the subject of the dream will also be a lesbian (your kill).

Joanne Lafontaine's Idealization of Fantasy (Pantyhose Pervert):

Joanne Lafontaine's pornography, during her career, was based on Bill Ward's idealization of the female form as seen through lingerie and its ideal enhancement of the human shape.  By shaping this ideology, as a bondage dominant pornography actress of some repute, she was able to turn men into permanent morphically driven autists in the manner of her poise, the female boss.  One can shape any woman into a pantyhose pervert, the slave of the female corporate secretary while publicly being her superior, by making a work of art that is the ideal form of the woman in terms of a perspective piece, form the woman, about her sexual assets, in the manner you want the publicly subordinate but privately superior man to think about his partner (or the shape of the woman reading the piece, to comport to the fantasy as a stylistic mimic).  The name must be given as a cultural rival to the culture of origin, to cross the submissive of the man in the named culture, to the dominance of the woman in the ethnic culture.  Joanne Lafontaine has a French name, making men submissive in a French manner, while she has a German physique, appearance, tone, wardrobe, etc., making their cultural triggers dominant in a German corporate manner.  This crosses over into a woman seeking out French male superiors, while controlling them as German matriarchs.  The autistic portion is the failure to understand the trap, unless directly after the orgasm, where disgust and uncaring will slowly become acceptance and devastation, followed by dependence on the culture, and the success of the man, to fund women's superiority, in general.

Transformation into Batman Forever Riddler (The Dave Mustaine Sequence):

The character should be an image of one's own father, with the nefarious force posed in the work as the self, but as an abstract, elusive whole.  This will induce one being the image of the artist's father, beating a rival as the son, until the child (the writer) has been subsumed into the image of the phantom paternal abuse attempting to defeat the writer as the nefarious force.  Then, the reader (the audience) will become the nefarious force, the writer's token philosophy.  To be written properly, the character (the father fighting the son) has to have a unique form of outlook when viewing the mysterious force, particularly if the nefarious, abstract force is pre-established.  This will induce the writer's psychiatric complex in whomever reads the piece.

The Wachowski Trap (Lady Gaga For That Pirate Booty):

The character should be an image of one's own mother, seducing the writer with a memory implying seduction as a submissive to the writer.  This will induce transgender disorder compliant with being a humiliated version of the writer, de facto submissive to the brand or style of the writer as an off-screen personality, regardless of the off screen personality's shifts and variances.  To be written properly, the character (the mother seducing the child as a submissive sexual icon) has to have a reference to a single BDSM posturing that will be familiar with the target audience (the sexual fetishism of the chosen BDSM posture or reference), any individual with the fetish becoming a transgender submissive cohort of the writer.  This will induce a fan following at the expense of opposition to the author's political issues, if one follows the author's personal tirades.

The Needle in Flesh (Antichrist Superstar):

There should be three points, the point of insertion (pain), the point of subsurface information (the lie and shock), and the point of removal from the work of art (catharsis).  This mimics a needle and thread passing through the finger, to disturb another individual.  The pain is the first stage to the message, the falsely distributed information must be visible beneath a slim surface layer and must have a quality of shock as the surface, and the catharsis must be the fruition of the message.  There are several ways to perform this (pain and catharsis are bonded with removal of thread {tragedy}, catharsis pulls through at length with pain blocked at sudden halt {climax}, catharsis pulls through at length with pain moving beneath shock and out {anticlimax}, thread is pulled as pain transitioned into catharsis and previous catharsis as pleasure {ballad}, pain becomes pleasure and catharsis becomes metered {opera}, pain and catharsis are switched as the thread remains a constant {epic}), but one should remember that the insertion and extraction are a pair, to be ceased at the end of the work, where the lie (thread) is pulled out and made plain as falsehood during simultaneous removal of the shock, to be accepted as wisdom (despite being made in falsehood).

Methodologies: 

Tragedy: Whoa, cover, false fact, whoa and warning.

Climax: Whoa, cover, false fact, implication.

Anticlimax: Whoa, cover, false fact, nah.

Ballad: Whoa, cover, false fact, affirmation.

Opera: Whoa, cover, false fact, cover, affirmation.

Epic: Whoa, cover, false fact, display of truth, false fact, cover, whoa.

Deliberate Poseur (Donald Fagen and Smooth Corporate Blues):

The institution of the corporate publishing house causes a certain amount of consternation in the poor fiction fan, the poser, and a silent appreciation for the work of the people behind the scenes in the connossieur, the true fan.  A poseur is capable of making art after studying a genre and creating fiction in it, with a body of work that features a single, subconsciously graspable trait, per individual entry, that fits into the genre pattern noted by the arts, while being a singular subtlety enough that the entire body of work not only blends together, but the style is only obvious under careful scrutiny after a lifetime of appreciation.  A single attribute of the transition from one style to the next must be placed in each piece, as the only marker of the work, such as placing a single romantic element inside each neoclassical work, to create a line of paintings differing from French neoclassicalism with a single English romantic work.

Example: Steely Dan is postmodern R&B, only differing from R&B in the sense that a single alteration on R&B's dependence on corporate record houses is altered, per song, with a subject modification (Deacon Blues is a reference to the American south's college football, in an African soul inspired genre, for example).  This is the afformentioned lantern hung on the corporate nature of new media, to transition R&B into a postmodern expression by Steely Dan.

Scarification of the Batman Villain (Induction of Justice Through Identification):

If you wish to target readers of your work with personality complexes you find distasteful, you can do so by taking the common modus operandi of the villain (Joker terrorizing people, Scarecrow torturing the mentally ill, Ventriloquist acting through others) and combining it with a modus operandi that will induce the state of your pleasure.  Joker, for example, makes theater references to terrorize people, making him a bully victim.  Scarecrow, obsesses around phobias and fear, turning him into a child-like psychopath.  Ventriloquist, relies on vaudeville culture, framing him as a pedophile whenever he tries to act through another person.  The combination of the disliked trait, and the modus operandi, are arbitrary, to your pleasure.

Example: A police officer makes arrests, based on civic duty.  A villainous write-in for this character would be one who does so by stealing food from a food bank, to catch people scamming the charity support system.  That would create a police scandal.

The Artistry of References and Vulnerability (Agent Smith): 

For an interpretation of art to be non-pedophiliac, one has to have at least one outside reference to the piece of art in mind when interpreting a work of art.  If an individual is offended at a relation of references, one seeks to victimize the individual making the reference between points, by simplification into a sexually immature state with a social stigma attached.  This is the famous Agent Smith effect of an individual having an antisocial trigger reaction to someone making a correlation between at least two points, noted in the Matrix (a bondage submissive {Neo} shooting a police officer due to social pressure, evokes an antisocial snap towards a critique of a struggling mother, the parent of a male bondage submissive).   This requires a point of three role references, plus the target audience, and the linkages between two of them, to reflect into the third, open role, as if the trio is rotating on the baseboard (the target audience) with circuits between two to make the position triggered against, the selected diode.  Only the target audience develops the triggers, ideally, since only they are proper to understand the insight (the linkage between unfit mothers and bondage submissives).

Example: Unfit mothers, bondage submissives, police.  Target: police.  A police officer is an unfit mother and submissive to police.  A police officer is a police officer and an unfit pmother to a submissive.  A police officer is a police officer and submissive to unfit mothers.  This linking of two, into a proton, with an electron, as the target, is a shifting isotope, called trigger inducement.  (A trigger is an antisocial reference strip, displaying pederasty, in a particular type of fictitious interpretation or behavioral analysis).

Jane Austen's Sociological Pattern Disorder (Doge is a Bastard for Smiling):

A quick root to fame for an otherwise poor female author is the game of taking one's childhood hobby (the mark of a poor study but a sharp memory) and applying it to every person they've ever met as a character, with a writer complex in the target audience (surveyed simply by remembering taunts, the author will choose them anyways for the proper alignment) and their most displeased individual, as their favorite topic.  Jane Austen, for example, chose Darcy, a man too shy to flirt with her (the woman has lesbian hand-tells from mimicking her father, and Darcy has a bisexual mother), as a doge, a Japanese dog, her favorite type.  J.K. Rowling chose a Batman fan, her most displeased individual, as a talking rabbit, her favorite toy.  

This of course induces autistic pedophilia, as discussed lower in the Wonder Woman Rogues Projected Narcissism comorbid list, however is an easy route to immortality, at the expense of the assumptions about you with the broken fans of your book (and everyone around them).  These create mass social disorders, hysterias, psychotic outbreaks, and panic attacks that transmogrify entire cultures into transgender masses of hateful, welfare-ridden, incompetent fools, that hate women and can't function socially.  If a woman was a sopping vagina with dry gristle and a homosexual jacked husband that couldn't speak English despite knowing it his entire life, she would be the product of a society with these books.

(Editor's Note: The book's title, when aimed at women, is something they believe they are a victim of, despite displaying, when marketing any piece of media to the female sex.)

George Romero and Hunting Evil (Adolf Hitler is Sad):

The famous male sibling to Jane Austen, Adolf Hitler's propaganda is endemic of George Romero, the Wachowskis, Clive Barker, Wes Craven, and anyone who has ever written a horror movie.  Charlie Chaplin also did these pieces of cinema, Adolf Hitler's likely source of inspiration in his later postures with anti-Semitic propaganda.  The famous case, George Romero, suffered from depression, and convinced survivalists to hunt people with depression as 'zombies', in his Night of the Living Dead trilogy.  The famous 'Juice Ortiz' from Sons of Anarchy, this form takes an aspect about you that you cannot link with society, and places your fanbase with a completely random form (Hitler took Jews, and hunted them with peasants - stole from Mary Wolsteincraft-Shelley, fail, has to go into politics, like Obama and Lost), just because the preferred base happens to be untapped.  You will cause mass outbreaks of psychotic fits, in varying levels of success (the Wachowskis got cops hunted by bondage submissives, and anyone seems like a cop if they don't know you're into BDSM, which is just about anyone, including people into BDSM).  This strategy is for a truly psychotic Nazi pedophile (Hitler).

The Italian Renaissance's Shipping Logic (Operas and Dirty Birds):

With the advent of modern sailing, the complex masts and rigging of so-called tall ships, actually called galleons, the mathematicians of Italy, during the Renaissance, noticed a peculier phenom in their trade ports.  Pigeons would stow away on the ships, and nest in the rigging pillars of the ship, getting crushed to slimy blood and gritty bone when the pegs to net the masts together were slammed into place at shore or sea, necessarily rapidly and definitively.  This led to the holes being painted red.  A mathematical logic puzzle arose, the so-called pigeon hole problem.  If there were four holes, and three pigeons, the lack of visible pigeons would guarantee an empty hole.  Besides this being used as the foundation for modern courts (precedent cases), this was employed in theater and art.

If you erect a pillar for a generalized stage role, such as a hero, you can have five heroes, five holes, but only one hole is unique to the set of heroes, the empty hole.  Therefore, you can hide the character associated hero, among your sets of roles and your sets of heroes, with one unique role per pillar.  A hero can be written as a Peter Pan amid a world of criminal heroes, Luke Skywalker, a love interest can be written as a woman that cuckolds you among a sea of desirable women, Leia Organa, and the villain can be written as a faithful congregant among a large cast of villains, Darth Vader.  This way, the irresponsible child selects Luke Skywalker's identification, the cruel whore selects Leia Organa's identification, and the religious father selects Darth Vader.  

Kabuki Art Theory (Maneuvering Through Pegs of Artistry to Produce Gender Theater):

The concept of Kabuki art is a Japanese concept, identifying art as shifting of roles between heterosexual, protective of society, and homosexual, protective of interests.  This root philosophy comes from the concept that the heterosexual is concerned with a basic unit, sexuality leading to children, the fundament of Japanese culture's basic block, through which Japanese culture manipulates all higher forms of the structure of their society.  The homosexual concept, meanwhile, is protection of one's own personal interests, also having a place, however temporary, meaning for training of skills to develop a dominating instinct through which to challenge others in a show of castration, either of the male ability to procreate in a punitive measure, or a woman's ability to influence her children, in the interest of a draft or marriage.  In heterosexuality, as the building block, the male and female cooperate, with the already honed homosexual instinct, the administration of society, however applied in a heterosexual manner, as the same structure.  In the assumption of this form, the building blocks move into higher movements of organization naturally, as art should, reflective upon the society that the art is meant to demonstrate.

The kabuki theater, is based upon the concept that a constructive force, and a disruptive force, are heterosexual and homosexual, respectively, the constructive force being the basic cohesive element, and the disruptive force being the basic adaptive element.  All the characters at the outset begin as heterosexual, constructive individuals devoted to the protection of the entire theme of the play, whichever is chosen, the theme as an element of society examined as an institution from the setting form, always literal.  Each character, identified as a peg in wood, connecting to another peg to denote heterosexuality, may become homosexuality, the peg and rope detached to indicate a swing, homosexual, indicating that they have become adaptive out of pressure from the plot of the theater.  This indicates that they have to solve a situation, and have been moved out of place.  The solution, in every single proper solution of plot, is to become constructive (heterosexual) once more.  The constructive, integration, unit, in Japanese culture, is always based on family, and the adaptive, ambitious, unit, is always based on training.  The integration is the outset of each and every single piece, and each piece that falls into the ambitious, must correct itself to become integration once again, always with the help of the other family piece, never alone, or else the kabuki piece will cause a suicide: Yakuza produced (poor quality goods).

God help you if you trust a Korean, they're a bunch of chosenkaijin (gooks, the Japanese term for them).  Koreans are so Muslim they're afraid of being raped by Muslim men.  Most women never figure out what religion they're in, because they're not genetically lesbian.  (Sayed Adnan was blackmailed into marriage with a rape charge, the most common gook method of marrying a husband).

The Book of Solomon as a Primer for Economy (Three Laterals With Two Horizontals):

To design a primer for the economy of any nation, there are three lateral units, with two horizontals then applied to teach the economic form.  The famous masterpiece of American economics, Boys Don't Cry, teaches this technique superbly.

The first lateral is the swine, the spine is the primary support of the nation, directed by the skull, the distribution.  The spine can be seen as an issue, and the skull can be seen as the bias.  In Boys Don't Cry, this is the cannery, the agricultural produce support, with the guidance, the banks that control the supply, logistics, and structure, as the bias.  This is working class America, guided by protection of women from both men and women.

The second lateral is the blood, the experience of the country, the common bond.  The common bond can be seen as the case study, the example of the effect of each member of the society, on someone else.  The experience is the setting, America being the rural countryside, and the suburban town.  This is how the spine and skull, the economics and guidance, the issue and bias, are framed.

The third lateral is the soul, the themes discussed, the predominant reform movement since the inception of the country has begun.  The theme is the result of the setting, the primary area of economic support supplied by guidance.  In America, this is gender rights, the protection of women in the rural countryside and suburban town, to support the cannery agriculture system, empowered by architectural support from banks.

The first horizontal is the teaching goal, the combination of all three laterals taken as a cross downwards.  The teaching method is a skillset for understanding the society at hand.  In America, the teaching set is the political economy of commodities, the study of how forward progress in protection of women from predators of either sex in the country and suburbs are shaped by commercial distribution control centers to empower the canneries supplied by agriculture to provide the basis of the American support network.

The second horizontal is the screen, the original notation of the first horizontal to allow for an exercise-based manner of ritual, informed by the shape that the nation is most familiar with.  In America, the shape people are most familiar with is civil politics, the constant battle between the criminal, the petty argument, and the career-driven individual, the individual that employs institutions to better themselves to protect against those that engage in petty arguments.  The individuals that engage in petty arguments do not understand political economy, commodities, the countryside, the suburbs, protecting of women from either sex, the industry of farming, or commercial distribution (the banks).  They are selected against, in the social setting, teaching everyone the negative example.

This is a simple term known as a Chaos Magician, taught in logic to by the Book of Solomon, a guide to anthropology of ancient society observed by the Israelites, and how to shape a simple five stage mechanism to order society to learn from the bad example, the enemy within society.  In America, the enemy doesn't understand how commerce distribution effects agriculture to shape canneries that require protecting of women from men and women in the suburbs and country for the purpose of commodities distribution managed by political economy, the academic study of how commerce effects society - the individual in America that is the enemy is always the individual behind the petty argument, the politically manipulative citizen.

The end product, of any system, is not the system itself, but the individual bred by it.

Find the hero in Boys Don't Cry, figure out who's defending them after seeing the movie, and fuck them up.  That's how you find who the dickhead is, in a cultural epic.  Another society?  They're your friend, if you want to fuck them up (the society, not your ally).  Standard media tactical warfare.  Muslims figured this out by fucking themselves up for hundreds of years.

George Lucas Terrorism (Reagan's City on a Hill):

George Lucas writes movies to cause mass trauma, extensive damage, and to vent his own frustrations at being trapped in a sexual lifestyle he dislikes through pressure of low aspiration women wishing for a rich husband in business, his previous choice of profession.  His artistic movies cause riots and race wars, with a simple central theory.  His movies focus on substance, with a generalized form, and a single theory, per film.  The substance is the economic function, linking to the theory, meant to destabilize the economic, social, or psychological function, chained into all three in political economy {Editor's Note: Editor's choice of major after AFROTC recommendation, hoo-rah George W.}.  The form, meanwhile, matches the target audience, in terms of intended consequence.  

The individual dynamics of the film, internally, rely on altered position references based on identification, where you will identify with the wrong character with someone else in a simultaneous manner (two best friends each think they're Darth Vader, but think the other is Obi-Wan Kenobi, or two lovers will think they're siblings, Luke and Leia, or Lando always calls himself Han Solo to Han Solo, assuming Han Solo is with Leia).  This is performed by writing as the villain in the series (Emperor Palpatine), attempting to destroy one's own goal (in George Lucas' case, Reaganism) with himself as the opposition (liberalism).  

The individual mechanism is very simple: each character, is Luke Skywalker, the viewer, lured into traps, contrary to the movie's intent (Luke Skywalker should die, to achieve the movie's purpose, unseating the Emperor, the rival of the movie; in Lucas' case, the 1960s civil rights movement).  George Lucas uses civil rights culture in each character trick of the mind, the most obvious being the fact that Stormtroopers, are whomever are around you, placing you in the Empire if you're around the same identified group of people, or placing you in the Rebellion if you're in an unfamiliar situation.  This means that you're Darth Vader in your comfort zone {Darth Vader is the suicidal voter support}, and Lando in your unfamiliar territory {Lando pushes Han Solo into suicidal voter support}, while the enemy female {not using the theory, female, Star Wars is a man's game} is seperated from Luke or Han, either by Luke {suicidal political interaction} or by Lando through Han {suicidal treatment of a reference the female doesn't understand}.  

Suicidal political support when at confidence, others in confidence are pushed suicidal politically, and the rival political mate {female} is pushed suicidal politically.  All these are George Lucas' choice to support Reagan by undoing 1960's civil rights by identifying the movement as fascist for alliance with the Democrats who opposed bondage and submission culture, by means of the eponymous Stormtroopers: anything calling for moderation {Palpatine's inverse in the theater} is pushed away in exchange for polarized culture, and civil rights is defense of minorities, the political heart of the anti-bondage culture in Hollywood.  Remove the heart, the movement is replaced by a baby boomer conservatism, which is of course Reagan.

The original Star Wars trilogy is race relations substance, with a theory that all race relations from a liberal perspective is fascist culture, with the form to target young baby boomers.  George Lucas' goal was the election of Ronald Reagan, to destroy liberal Hollywood, a culture he despised for their disapproval of his chosen form of sex, bondage and domination, as a submissive queening preference, since he was a business executive by practice (impossible as a bondage submissive through haze by lesbian or gender queer peers in middle school, the only induction range possible and method possible for a male heterosexual bondage submissive).  

The eventual product is the so-called neo-conservative movements of the 1980s, that gelled into the Imperial Stormtroopers: the Yuppies.

The Usage of Victorian Psychology in Star Wars (The Joker is Pale as a Ghost):

The individual structure of the original Star Wars trilogy features Victorian psychology, wherein each set of interactions between characters is an action-consequence set, able to be analyzed from any possible set of flexible situations as simple, neutral showpieces, without the  manipulative politics or political diagnostic that came later, under Nietzsche and Jung.  One can study the first trilogy for each set of character interactions, with a simple display of the action, and the consequence, broadening out into more complex structures once the fact that very few of these sequences are ordered, or necessarily related or even seperate when combined, is considered.  

This psychology was the tool of both the Allies and the Axis during WW2, with the failure to follow proper action-consequence psychology being the result in a loss for either side during a particular engagement, campaign, theater, or political action.  Nietzschean politics prove superior with a suppressed, domestically infantile populace, and Jungian politics prove superior with drug addicts and drug addicts alone.  

The latest Disney Star Wars sets, are Nietzschean politics, assembled in Acts, with each Act as a political manipulation from individual sets of actor self-interest in each, able to be rearranged throughout the Acts matching the same character in each.  The so-called prequels, are Jungian, with deliberate means to action in each movie to perform a symbolic act, for each level of dysfunction of the individual, as a deliberate eugenics purge of drug addicts and alcoholics.

The Palpatine equation, George Lucas's role, is understanding that Batman, Darth Vader, Kyle Broflowski, and Stewart Griffin, are opposing Joker, Force Ghost Kenobi, Eric Cartman, and Brian Griffin, from each set of action-consequence forced from one party, the uber personality at inception, to the other party, the autarchal personality, the first a theologian, the second a research scientist.  

The first set of characters, is unable to understand symbolism of more than a simplistic surface layer and must receive information in a simplistic, non-dilemma fashion, the second set of characters understands dilemmas as flexible and intuitive, without having sampled any of the source material.  A theologian has to backtrace all material from concept, to misdirection, to fiction, while a research scientist has to create all concepts from reference to example, starting with an abstract explanation, then providing the concrete explanation of how it correlates to the reference.  The uber personality is the former, the autarch is the latter.

{Editor's Note: Matthew Lennox initiated the forced action-consequence in exchange for college money from Fox for Family Guy and later South Park Studios, via his drama major at Harvard University, degree-holding older sister, Elizabeth Lennox, and the editor was the recipient of the reaction, taking a Canadian Intelligence role in the rearrangement of NAFTA and a movement of British-Canadian oil deals to Saudi Arabia for increased price and trade deals with the Commonwealth via the election of Donald Trump and the psychotic break of Barack Obama, with a lengthy discharge of 'nickel' (one weighted coin, one Freudian mother, one Freudian father, one rival force, and one false coin atop the weighted coin, four pennies for a nickel), or as Lincoln called them, 'Scapegoat', Churchill as 'Zany', media pieces, based on the weight of Heath Ledger's Joker (written in 2002), with the Gotham television series nickels to manipulate gay cultural moralities into homophobic collective disruptions based on the popularity of the Joker hustle coin (Jesus Christ, now a gay icon).  The maneuver is the 16 nickels for 20 (5 x 16 = 80 = 100 - (10 + 10)), the Aaron Burr for two Hamiltons - Sixteen on Blackjack.}

Concept Sketch Writing Theory (Charlebois Gambit - Tommyknockers Typewriter):

The protagonist, is to be drawn from one work of art, out of medium, from an antagonist character.  The protagonist's 'style' (the general appeal to the author) is paired with a character archetype from the list below, and a title hero complex.  The work is placed inside the rogue gallery class and marketing class, with the primary antagonist drawn from a protagonist's role from an out of medium work on a different title.  The setting is placed with an international situation, and the plot is placed in a local event situation (as in video games made in Japan).  The setting is drawn from a large arc of a fiction or non-fiction work, placed into your international event, and the plot is determined through the interaction of elements from the law enforcement writing theory mentioned in this guide, acted out through the local situation.

Quandry Character Concept Design (Law Enforcement Style):

Basic Form: Parallel version of writer with crime against broad social convention (situation). -> Author's flexibility. (Audience Quandry is the social convention {situation})

Jungian Form: Stuck in Hell (pessimist character motivation) for audience identification with alternative universe writer references. -> Recipient's view of Audience Quandry. (Link to Firing Pin)

Firing Pin: Individual's consequence for crime. -> Induction of punishment. (Personal Quandry to Be Inverted, Dramatic Character for Salvation {Downfall from Jungian Form} - Escape from Audience Quandry Offered - Comic Relief {See comic relief formula below - Success from Jungian Form} for Murder - Destruction of Individuals in Audience Quandry) (Fused in function to Trigger)

Trigger: Character structure the individual is written into. -> Property used.  (Consult Writing Strategies Below)

Resulting Bullet: Morphology into character form to escape trap. -> Subsequent archetype among audience. (Real Life Phenom)

You're Garbage Who Kills For Money: A Comedian.

Comic Relief: A non-sequitor between audience and character quandry.  Two parallels, a contradiction in each, with a common linkage.  This is a joke that can be used as a subconscious effect on the reader or viewer, to establish a common theme to make memorable scenes that explain the theme of the work, over and over again.

(Example: In the Dark Knight {audience quandry, harassed by social movement}, Batman {character quandry, removing one's self from oppression by social forces by consulting outside resources} is a serious comedian that tells Joker he's Batman, Joker is a bad comedian that doesn't understand dry humor.  This explains that Batman is slowly driving Joker crazy, and Joker doesn't understand dry humor because he's a sociopath - this is the humor of a police officer, revealing his real life persona to a criminal {sociopath} as a dry joke, to induce madness in the criminal.  The non-sequitor is using the sadism of the social movement, represented by the Joker, in the form of resources outside one's own personal power, as exterior resources to trust society and conquer the Joker, the abusive persona of the underground social movement - a counter to the culture of the Wachowskis).

Power Plant Logic (Johnny English is a Nuclear Wizard): 

To analyze a unique proposition from a plot, take two contradictory relationships from two stories, and link them in the center with a perpendicular root fundament.  This reveals a lesson the author can use in future writing.  If somebody finds the perpendicular contradiction humorous (they've spotted a non-sequitor), they have tripped a specific comedy relief reference targeting them as if the reference was comic relief.  (Too rich for my blood).

(Example: Simba in the Lion King being anointed as a Prophet by a King, in luxury, and being upset by Scar so he has to fight through hardship to be a proper king that isn't a tyrant Pharaoh, and Saul, a priestly holy man, being chosen as King of Israel and betraying David, a soldier, over popularity, forcing David to be a military commander of the Phillistines to take over Israel and restore morality in the face of the religion falling to Saul's vanity.  The two link at the anointment of the Messiah, with the movie Roots - Kunta Kinte {Toby} anoints his child as a prophet, but in the worst hardship possible for viewers at the time, a story about African slavery shown on television during the American Civil Rights Movement of the 1960s.  This demonstrates that anointment of Messianic quality is only appropriate in hardship, not in wealth.  If you relate this insight to the Chappelle Show sketch mocking Roots, you have struck the boobytrap to invert the lesson and raise Evil Simba or Saul's son Jonathan.)

Summation: If you think Chappelle Show is civil rights culture, instead of Roots, you are too rich for the reference made by the pair of contradictions (the fuel over time and the customer needs over time) that should indicate a price in the meeting contradiction, hence you see the non-sequitor, the comic reference, indicating you can't get the fuel and needs to meet at a rate where you actually require the services granted - you are frivolous with resources, you are a sociopathic personality disorder.  In fuel commodity culture, this requires you move to a more expensive provider, you are a disordered consumer of power.  

(Say, your income class and region is paying ten percent of the revenues, but your fuel usage is thirty percent of the load - to accomodate you, seventy percent of the load would have to sacrifice when they're paying ninety percent of the revenues.  The calculation of comic factor, the non-sequitor, is if you're raising the price, via load usage {fuel and demand} to raise the price above the rate payment of your personal market share compared to your consumption.  Otherwise, there isn't sufficient revenue to maintain services in a safe manner).  

Collapse of a Public Institution With Art (Economics and the Flying Buttress):

A public institution has to be understood with three large factors, the system, the management, and the property.  This is from sustenance, tribe, and shelter, the three oldest factors in human civilization.  The system is understood with mandate, the management is understood with personnel, and the property is understood with mathematics.  Mandate is a theory applied to a territory, with parameters of how the theory is being employed.  Personnel is a law applied to an individual, with rules on how the law is working.  Property is the central basis of the institution, as a corner, with two points of geography compressed into one source and two shapes of extension with one height.  

The combination is a right angle, within a theoretical framework and managed by an individual at the top of the institution, with a basis at the bottom where the parameters of the institution work within rules determined by the origin of influence of the institution.  This works forwards, then backwards, in institutional theory, to grid out the entire structure.  It could be seen as a wall at the center of the foundation, with the cornerstone as the prime principle, a right angle extending in influence to the rest of the structure, with the managing individual at the top of the wall corner.

This is performed with the flying buttress, being placed alongside the height of the corner, the top of the buttress afixed to the top height, at a forty-five degree angle to the corner right angle.  The theory of the structure is the insertion, the institution where the art must be placed as determined by the parameters of the institution and the laws of the individuals targeted, operating along the rules for artistic reference the targeted institution's members use.  The final component is locating the individual, at the top of the height, to fold downwards into pressure at the base of the institution, with the buttress' inserted artform, the reference to history, the final weapon - history being a reference to a cyclic, in three forms, the two individuals resembling the top corner (the first metaphor), and the individual marked as the non-art theme (the second metaphor), together making a simile, a personified juxtaposition (the tool) for the paradox (the usage, self-targeted by the individual seeing it).

Together, you've got Hitler shooting himself.

Combined Signals Theorem (Maccabee and Orbital Combination):

Orbital theory is the use of posture of self and posture of other, in two roles, with a repositioning of self (hero) and a repositioning of view of self from other (villain), to remove all roles for an easy transit of information.  Normally, this would require a great deal of difficulty to posture self in the view of another, who is viewing one as another role, to establish the third, linkage.  However, with use of Maccabees in the rogue position, the mutual counterculture to the local non-identified mass of culture, there is an easy locking motion, as long as both are within the counterculture to whichever personality the local culture possesses.  The villain must have a method that matches the target's method, and the hero must have a generic, non-descript role, with each ally of the hero matching one of the villain's henchmen - with no actual corrolaries to real roles, merely ghosts.  The proper application, then, is to take the villain's method, and fit it into a resistance to an idol, that is neither the villain nor hero, instead the setting, so each resist the dominant culture, therefore the individuals using any characters written along these lines with lock in, if they share the sectarian status against local personality, and lose any sense of personal role, for complete abstract exchange of information.

Feminist Victim Male Villain Theory (The Velveteen Rabbit):

To make a type of man a legendary victim of women's liberation activists, try to decipher how he abused or otherwise mistreated his favorite stuffed animal, during his middle school (age 12-14) period.  This is how his relationship with a woman should be written, to elicit maximum retaliation from women against him.  Beyond this, the typification of his appearance, a historical reference to select the opposition culture (properly positioned in his preferred culture of mate), and a retaliation from a male hero (to be acted out by women) should be postured.